• 00:01 Curiosity as a driving force
  • 02:54 What is object? What is sculpture?
  • 06:28 Thinking about sculpture in spatial terms
  • 08:45 The possibility of symbiosis, not parasitism
  • 16:07 Contexts: from self-organisation to the gallery
  • 19:24 A place of extreme care
  • 20:15 “Non-Slave Tenderness”: a poetic title to speak of intuitions
  • 23:37 Glitching reality
  • 31:09 Changes of meaning
  • 36:44 Tenderness and the crystallisation of viscosity
  • 42:00 Working conditions
  • 44:32 Relatedness
  • 46:00 Many ways of making sculptures: the material often doesn’t let you do what you want, and the fiction of permanence
  • 52:25 Art’s potential to change the world and affect thought
10/10/2023 59' 19''
“Non-Slave Tenderness”, 2018. Foto: Miquel Coll

Artist Lucía C. Pino approaches her sculptural work as a conversation with the materials, the media and the surroundings—in relation to where they come from as well as the place they will occupy—, emphasising their performative aspect and their interdependence with her every move. It is a practice that is not easily defined, permeated by a wide range of interests, influences and concerns, among which Lucía includes the rituals of reading, writing, and doing-with-others. Imbued with a transfeminist spirit, her assemblages allow her to speculate on a complex but also intimate reality, creating a dialogue between the materiality, the space, and the relationships that can emerge from the art device.

In FONS ÀUDIO #58, Lucía C. Pino presents Non-Slave Tenderness, a project created specifically for Espai 13 at the Fundació Joan Miró in 2018, which includes three pieces that now form part of the MACBA Collection: Piece 2 Non-Slave Tenderness 113 1331, Piece 3 Non-Slave Tenderness 113 1331, and Piece 5 Non-Slave Tenderness 113 1331,. We talk with Lucía about tenderness, and about the crystallisation of viscosity and flow that is epitomized in her work. We also open up an ever-changing and constantly updated glossary, which introduces borrowed notions such as “busto” (bust) and “pellejo” (skin), allowing us to think in terms of volumetry and structure, but also in terms of their relationship the body. And as we talk, we very tentatively start to consider the (fragile, but real) hope that art may be able to change and affect our thinking.

Conversation: Ricardo Cárdenas and Anna Ramos. Script: Ricardo Cárdenas. Sound production: Albert Tarrats. Photo: Miquel Coll.
SpecialssculpturetendernessqueerDIWOworking conditionsLucía C. PinoMACBA Collection Creative Commons

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